Jane Teiko Oka: Graphic Art To Wild Animals

Jane Teiko Oka wrote this brief time­line of her art career:
Applied for and received a working schol­ar­ship to Cali­fornia School of Fine Arts in San Fran­cisco, around 1954.
After one year, received full schol­ar­ship until I grad­u­ated with a Bachelor’s Degree.
Accepted employ­ment with a commer­cial art studio – Patterson & Hall in San Fran­cisco.
Applied for and received a Fulbright schol­ar­ship in 1960 to study in Japan. Extended my stay (after my 10 months schol­ar­ship ended) to 1½ year, trav­eling within the country and visiting various studios and hand crafting compa­nies.
Returned to San Fran­cisco in 1962 and began my free­lance career in the city.
One of my major clients – Japan Air Lines
Locally – Blum’s. San Fran­cisco Maga­zine (story illus­tra­tions and cover designs).
Other areas of work:
Calen­dars, gift items, package design, posters, story­book illus­tra­tions, school
readers illus­tra­tions.

The Following is the collec­tion that follows Jane’s time­line:

Around 1954, when Jane was living in San Fran­cisco, she fulfilled her art schol­ar­ship at the Cali­fornia School of Fine Arts in San Fran­cisco (which became the San Fran­cisco Art Insti­tute in 1961) These are just a few of her port­folio samples.

In 1959 there was the huge assign­ment from the Educa­tional Posters Co. Jane created the poster: Chil­dren Of Other Lands, 25½” x 37½”. Jane posed each of the 55 chil­dren and researched the costumes of each country. For the crea­tures of other lands she illus­trated 22 mammals, 1 Toucan, and 5 schools of fish. Added are 3 ships. The exam­ples below: the first image is of the full poster as offered on the web, followed by a “detail” that I have reduced from full size, to print on letter‐size gloss paper. (In researching this poster, I found this addi­tional photo of a little girl pointing to the same poster. With little diffi­culty, I found that this little girl is Linda Davick, now also a children’s book illus­trator in San Fran­cisco. I reached her by email and she wanted Jane to know that she loved the poster. Linda wrote: “I’m SURE Jane’s poster influ­enced my art career in a big way. I looked at it all the time!”)

1959 – The Bohemian Club accepted artists (only men) on the condi­tion that they contribute their talents. Jane (and I, also) were put to the task of creating art for a club member. Here is (Jane’s) invi­ta­tion to an event at the Bohemian Grove’s summer encamp­ment. The Owl is the club’s mascot. On line, I also found this example created by Bruce Butte. I had worked for Butte, Herrero & Hyde until April 1965 and I am sure this was Bruce’s art because I also recog­nize Bill Hyde’s lettering.

Also shown above is this photo of Jane at the art studio: Patterson & Hall where she designed a page of the calendar that was a coöper­a­tive project of P&H’s studio and Charles R. Wood, Lith­o­g­ra­phers (which had a notable repu­ta­tion for quality printing). The abstract design by Jane Oka utilized trans­parent and opaque colors printed on foil. The calendar was released in 1961. Jane’s book cover design for “Key To Lasting Slim­ness” was published in 1960.

Jane’s 10‐month Fulbright Schol­ar­ship in Tokyo began with many weeks of making Sumi inks, until her talents were real­ized. Then she was set free to explore the local studios of arts and crafts. The exam­ples of Jane’s on‐the‐spot sketches are shown below. 1962, back in San Fran­cisco, Bots­ford, Constan­tine & Gardner found Jane’s knowl­edge of Japan and art style, perfect for their client: Japan Air Lines. The booklet: Japan Air Lines – Living in Japan – shows thirty of Jane’s illus­tra­tions, large and complex and small and simple. Jane also created two maps. Shown is the intri­cate map of Tokyo and the other map was of the routes of Japan Air Lines.

In 1965 Jane Oka moved from commer­cial to deco­ra­tive art: Blum’s pack­aging designs (Blum’s was, in the 1960s, an exclu­sive candy‐shop / luncheonette that created many “sweets” and was known for their unique pack­aging; tins and boxes). San Fran­cisco Maga­zine, covers and story illus­tra­tions. NAVH contri­bu­tions of more than 30 holiday card illus­tra­tions for the benefit of National Aid to the Visu­ally Hand­i­capped. Of this subject: “chil­dren of many lands”, we show just two of the series of 24 – Jane’s yearly gift to the charity. Jane created the designs for match­boxes produced in Japan.

Deco­ra­tive posters: 1968 was also the begin­ning of her creation of posters for Portal Publi­ca­tions, Ltd. – the assign­ments extended to 1973 when the art was converted into yearly calen­dars. 12 Zodiac Signs, 5 Kitchen Charts, 5 Gourmet Guides, 10 Proverbs, All at: 20”x 29” (Size of the Calendar art: 13”x 16”)

Jane Oka designed all thirty‐two posters, working directly with Portal Publi­ca­tions from 1969 and into the1970s. Some of the artwork was reprinted as calen­dars, so there is the addi­tional smaller collec­tion. Jane styled and ordered the type, researched and wrote the various copy blocks and list of ingre­di­ents, and presented Portal Publi­ca­tions with the paste‐ups ready for printing.

Posters used as deco­ra­tive props In the Woody Allen movie,” Sleeper” there was a scene where one of Jane’s Zodiac posters was used as a prop. There is a website: “The Kids in 201”, it is a blog about the TV series: “Three’s Company”. It shows two of these posters used for room props. Redbook Magazine’s “Redbook Crafts” (March 1978 issue) printed with permis­sion from a published 1976 book: “Things To Do In A Day”. Using Jane’s “Calo­ries” poster as a choice in deco­rating the project.

Posters used as yardage and other items. Without Jane or Portal Produc­tions being aware, yardage was produced using the art from her (most popular) the12‐signs Zodiac poster. A photo below shows the Zodiac yardage made into clothing. Jane says that “someone (?)” found and showed her this Playboy Maga­zine ad offering men’s pants – using fabric from her poster art. The San Fran­cisco Exam­iner shows a comforter made of the fabric.

There were blow‐up vinyl pillows of each sign, and key chains. These might have been produced by Portal Publi­ca­tions, or not. Jane would see her Gourmet or Kitchen posters used as décor in restau­rants. And, one day, as Jane was standing on the side of a San Fran­cisco street, a Volk­swagen “Hippy” bus drove by with her Virgo poster design painted on it. She was sorry that she didn’t have a camera to record the sight. Jane has a huge collec­tion of these posters and we are searching for a place to market them. The collec­tion is from the printer, never removed from the boxes that were given to her as each poster was produced.

1969 to 1978 was also filled with book illus­tra­tions.

The move from graphic art to the art of wild animal care! An over­lap­ping interest and devo­tion was in the care of Marin County’s wildlife. Orphaned or hurt birds and animals were her first inter­ests, then the sea animals, at The Marine Mammal Center. In 1998, “Healers Of The Wild” was published. Jane Oka’s contri­bu­tions were listed, third, on page 205 (as shown, below). Jane had served as shift super­visor for nine­teen years. In 2000, Jane designed this T‐shirt for the 18th Annual “Run For The Seals” benefit and she recently donated the prelim­i­nary art and the finished art to the center for their on‐sight exhibit.

The energy and deter­mi­na­tion needed for Jane Oka’s intense work‐mode is still there, she is non‐stop. (She does take a break, as at the 2008 Geezers’ Gath­ering and when she visits us.)

Ann Thompson

The Past And The Last Geezer Gathering?

In those days, when I started free‐lancing as a commer­cial artist, I found that San Fran­cisco usually did not reach out to the east or to the LA area. The cool­ness of this area made it a printing center from the very early days. I found, that all of the various services that were needed for adver­tising in the 1940s to the1970s pretty well kept to the tight group of talents within the SF Bay Area. This was before the national delivery services. Local deliv­eries were often by walking. “Aero Delivery” bicy­cles were for local rush jobs and a run to the US Post Office before closing time with pack­ages of art was the way to the outside world. Some Illus­tra­tors did mail their finished art to Chicago, NYC, and even Cleve­land. Even TV commer­cials were created here, as at Imag­i­na­tion, Inc. on Kearny Street where I had a summer job as a cell‐painter for Stan­dard Oil commer­cial.

A lot of friend­ships grew in clubs: the Art Direc­tors and Artists of San Fran­cisco, the SF Society of Illus­tra­tors, the San Fran­cisco Copywriter’s Club, ASMP (the Amer­ican Society of Media Photog­ra­phers) and APA (Amer­ican Photog­ra­phers of America). There was also in 1958 the Society of Designers and Illus­tra­tors (that was before my time). On any street, down­town, you’d see a person that you knew – as our “Madison Ave.” was spread all around down­town San Fran­cisco.

Sales­per­sons in the trade, knew most of the players in our industry. There were Paper Reps, Typog­raphy Reps, Printing Reps, Art Studio Reps, Art Supply Reps – – Art Flax would make personal visits.

Murray Hunt repre­sented Spartan Typog­ra­phers. Spartan’s owner, Jim McGlynn, had been to the Haas’sche Schrift­giesserei (Haas Type Foundry) of München­stein, Switzer­land and brought back the new 1957 type font – Helvetica –exclu­sive to their shop in Oakland. The type became a huge favorite – and still is –as we are using it here on this site. Murray would call on several designers in the Jackson Square area and soon there were a number of them at “Clown Alley” at lunch. (Favorite restau­rants are listed in an earlier post.) San Fran­cisco felt like “a very small ad town”, then.

The self‐employed artists person­ally met most all of the ad agency art direc­tors and the various other agency personnel. In art studios, the sales persons for the studios usually were the ones who called on the clients and art direc­tors in agen­cies – unless the artist needed to meet for direct discus­sions.

There was also foot‐traffic, after‐hours. There were no in‐house copy machines, no stat machines.
Top illus­tra­tors would often person­ally carry their art to the various photo‐stat shops. Their support team may have left for the day and an urgent call to Copy Cats or Copy Service would keep the doors open and that stat crew waiting. (Copy Service’s, Jim Faulkner – I still owe him a drink, after all these years.) Some indi­vidual studios had a Camera Lucinda, a “Luci’“ projector for late hours or weekend work. But that was a slow process for calcu­lating size changes in prelim­i­nary work. When two art studios combined, I asked for the extra Art‐O‐Graph. I borrowed my mother’s car‐with‐hatch‐back and took it away. We found our “lucI” a great asset at home, even when we already had early Apple computers. Yes, we could enlarge images on the computer screen but not up to 14”x17” paper or as enlarge­ment of smaller “thumb‐nails” to be reflected onto illus­tra­tion board for tradi­tional, painted, finished art.

Unlike email, tele­phone contacts brought out a lot of the person­al­i­ties of both parties. Without the avail­ability of “attach­ments by email” there was the walk outside to deliver and show the work – in‐ progress, discuss and make noted adjust­ments to the job – – and possibly time it for a lunch nearby where the others with our same inter­ests, lunched.

The close working rela­tion­ships within the city – – is the reason that the GEEZERS are such tight friends, even after all these years. I found that school reunions are a wide mix if inter­ests, when fellow students go into so many different occu­pa­tions. Our Geezer reunions have locked in the same persons with the same (graphic arts) trade so all the past recol­lec­tions are familiar to many. Now (still 200 strong) we do contact our Geezers by gang‐email, announcing art gallery shows, personal announce­ments and a yearly gath­ering, a picnic.

Our yearly GEEZER reunions were always in early October when the weather is usually cool. Although, the very first Gath­ering was on July 31,1993 at the Buechert prop­erty in Petaluma CA. Bob Buechert and a hand full of ad types (I don’t remember who we all, were) planned the event. Several lists from each of us were put together for mailing. We never again had such a large atten­dance. Please see the 1993 photo at the bottom of the Gath­ering list, at left on this site. (I counted 90 in the photo and then added Dick Moore who took the photo from up on the water tower and a few who might have been still at the food tables and where some “classic” cars were parked – so maybe 100?) This happened to be a weekend of the Bohemian Grove encamp­ment. Declining RSVPs came to us from their artist members. (Begin­ning in 1872, Bohemian Club meet­ings were only of jour­nal­ists, artists and musi­cians.)

Now in 2018 (to bring a full circle of the 20 picnics that followed) we were happy this year, to have guests: Arlene and Courtney Buechert. This year’s picnic was the last gath­ering to be held in this Corte Madera Town Park. The park wants the space in September and October for the young soccer teams. It has only been conve­nient to a small portion of our Geezers. So I am hoping that the in the future we can find multiple free and conve­nient loca­tions.

On October 3rd, rain was possible. The Bay Area had been dry since May, but the night before our picnic it rained heavily at 10pm. Even with that, we emailed that we would be there at the park to see who could show up. At 11am, we were ready with umbrella at hand, and then the gang appeared:

Email to us after the picnic was so very kind in the thanks to us. Here is just one:
The photos are so nice, it was a lovely day and we had a nice time. Thanks also for all you have done to keep the adver­tising folks in touch with each other, that is no small task and you have made a really inter­esting group cohe­sive and together.
Four of them noted:
“Thanks for sending. Who in the hell is that old man with the long hair? I just got it cut, can we re‐shoot?”
“Very sneaky. I had no idea that I was subject matter!”
“Hi Ann, thanks for the photos. We’re certainly looking geezerish.”
“Look forward to seeing the group pix. And somehow attending another Geezer’s picnic some­where!!”
 — — —

Yes, some­where.
Ann Thompson

And Best to you Ann Thompson from all the Geezers past and present.
XO Piet Halber­stadt

Bill Shields

We have previ­ously posted collec­tions of Willi Baum and Dick Moore and most recently, some of Earl Thollander’s Chinese cooking illus­tra­tions.

Here is a showing of Bill Shield’s commer­cial art from the years: 1961 to 1975

Now, exam­ples of his fine art (with views of his workspace‐easel with art in progress).

Bill and family lived on Pine Street in San Fran­cisco. In time, by re‐building the home, it became the “Artists Inn” – with warm B&B hospi­tality and it was deco­rated with Bill’s paint­ings.
Bill also remod­eled the building at the rear of their prop­erty. It was Bill’s studio and orig­i­nally had spaces for other artists. Later, it also became an addi­tion to the inn that welcomed visi­tors to San Fran­cisco.

Show 3‐Artists Inn 1, 2 & 3

Ann Thompson

The 4 Caballeros (Part 2)

1962 The San Fran­cisco Exam­iner PICTORIAL LIVING. When three of the four artists returned to San Fran­cisco, their sketches inspired paint­ings. The San Fran­cisco Examiner’s head­line “How Six Bay Eyes Saw Mexico” did not include the fourth artist, Willi Baum. Because at that time, Willi was back in Mexico, in San Miguel, where he was designing a mural there. So Willi was not shown in the photo with the Examiner’s story.

Sept/Oct 1962 Commu­ni­cating Arts Maga­zine
Here also, are six pages showing the art and it includes the written comments from the artists. (The sketch that you see at the bottom of each page was a fifteen‐foot long, 360‐degree drawing that Earl Thol­lander made as he viewed the complete row of build­ings surrounding the open square where the artists were sketching.

On November 7, 1962, there was an exhi­bi­tion of sketches and paint­ings that were a result of the trip. It was held at the Art Unlim­ited Gallery in San Fran­cisco. The gallery was accessed from the ground floor and then a strait stair­case down to a base­ment. Willi had recently returned from San Miguel, but on the night of the gallery show, he appeared in a wheel­chair at the top of the long flight of stairs. The crowd showed concern about Willi’s condi­tion and worried how he planned to get to the lower level. Then, following his plan in “making an entrance” he stood up from the wheel­chair and casu­ally descended the stairs!
Not long after that occa­sion, Bill estab­lished a studio in New York. As a member of the Society of Illus­tra­tors, there, he received and awarded award of merit with his painting devel­oped from one of his sketches from the trip in Mexico (the last of the images that you see above). The four amigos, together Other sketch trips followed. Each of the four produced more and more paint­ings, beyond their commer­cial work.

Ann Thompson

Bill Shields – Friend And Artist

I first met Bill when he appeared in San Fran­cisco in 1960 and came to my studio on the recom­men­da­tion of a teacher, Marty Garrity, who taught cartooning at the Chicago Academy of Fine Art in Chicago. Bill studied there during the years 1945 to 1946 and I was there from 1948 to 1950. Marty kept tabs on most of his students and I’m sure he helped many to get together later when an oppor­tu­nity came up. Bill’s arrival in San Fran­cisco was smashing! He had no problem in capti­vating his clien­tele with his stun­ning design and artwork. His illus­tra­tions were appearing every­where and his swift execu­tion kept him busy. He was up to the demand and never disap­pointed!

I was living in Mill Valley and Bill soon moved his family there. He and I, for a time, commuted into the city in his Porsche. We brought our fami­lies together on camping trips where we sketched. Bill brought his talents into play designing and finishing his home to his stan­dards. We often sketched together in the city and managed many week­ends trav­eling with other artists, sketching and painting in the Gold country and along the northern Cali­fornia coast. For two weeks in 1962 our artist friends, Earl Thol­lander and Will Baum, joined us on a trip to Mexico where we visited the west coast town of Guaymas and then we trav­eled south­east to an old cobble­stone town named Alamos. This is where we spent most of our time sketching and enjoying the great differ­ences from our lives in the Bay Area. On our way back north we visited the Joshua Tree National Park. Willi set his camera’s timer and staged this photo. Here are three quick sketches that I made of Bill.

After our return, we prepared a gallery show in San Fran­cisco of paint­ings devel­oped from some of our work accom­plished there in Mexico. During our stay in Mexico I renewed my aver­sion to the Amer­ican Cock­roach, which were plen­tiful there. My fellow artists decided to capture one and put it in an enve­lope and tucked it under my pillow. The scratching sound alerted me to their joke. Bill addressed some of his many envelopes, without roaches, that I received though the years as “Dickaroacha”. Many years later in Hawaii, I over­came the aver­sion, and lived with many such crea­tures.

I was always amazed that Bill’s embell­ished envelopes actu­ally made it to my mailbox. His collec­tion had a few of mine, like this last one that you see above.

In late 1962 (after the gallery show) Bill moved and worked in New York for quite a few years and in 1975 he returned to San Fran­cisco where he estab­lished his Artists Inn studio where he painted. He also taught at various acad­e­mies in the city and Bay Area. Lucky students! My return from Hawaii to San Fran­cisco in 1982 gave us a chance to catch up and enjoy each other’s company and fami­lies, once again. Many lunches and partying happened through the years and an occa­sional sketch trip was always a joy.

Dick Moore